‘The plot has aged like milk’: Ava Wong Davies creates a mixtape review in response to the musical adaptation of Nick Hornby’s novel about an ‘insufferable music snob’.

A difficult woman: Hannah Greenstreet writes on the too-familiar tropes exposed in Clare Barron’s narrative of love and ballet.

Rose Johnstone writes on the dog jokes and righteous fury of Hannah Gadsby’s new show, “Nanette’s even more rebellious and revolutionary sister”.

“We’re good people right?” – Rosemary Waugh writes on the normal people of Duncan Macmillan’s climate change play.

‘The gesture of care makes the performance feel suddenly more dangerous’: Hannah Greenstreet writes on Clean Break’s production of Alice Birch’s sharply experimental new play.

Drip, drip, drip: Alice Saville writes on Sabrina Mahfouz’s slow-building deluge of a show.

“Heteronormativity…it’s a curse!”: Ava Wong Davies writes on Marina Carr and Yael Farber’s bloody, binary take on Lorca.

Men of magnitude: J N Benjamin writes on Athol Fugard’s semi-autobiographical story of prejudice in a failing South African tea room.

A web of allusions: Hannah Greenstreet unpicks the intricacies of Caryl Churchill’s four-play cycle.

People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.

Unreliable narratives: Rosemary Waugh writes on Lucy Prebble’s metatheatrical story of Litvinenko’s poisoning.

“Are we laughing with them? At them? What exactly is so funny?” Amy Borsuk writes on the awkward humour of Selladoor’s revival of Falsettos.

Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.

Beat ’em up: Simon Gwynn writes on a pugnacious but uneven Tory party satire.

A cryptic racism: J N Benjamin writes on Branden Jacobs-Jenkins’ haunting story, set on a cicada-ridden plantation.